The gates of art being now thrown open by Apollodorus, Zeuxis of Heraclea entered upon the scene, in the fourth year of the ninety-fifth Olympiad, destined5 to lead the pencil, for which there was nothing too arduous6, to a very high pitch of glory. Of him Apollodorus wrote a verse to the effect, that Zeuxis had stolen the art from others and had taken it all to himself. Zeuxis also acquired such a vast amount of wealth, that, in a spirit of ostentation7, he went so far as to parade himself at Olympia with his name embroidered8 on the checked pattern of his garments in letters of gold. At a later period, he came to the determination to give away his works, 297 there being no price high enough to pay for them, he said. He gave an Alcmena to the people of Agrigentum, and a Pan to Archelaüs, King of Macedonia. He also painted a Penelope, in which the peculiar9 character of that matron appears to be delineated to the very life; and a figure of an athlete, with which he was so highly pleased, that he wrote beneath it the line which has since become so famous, to the effect that it would be easier to find fault with him than to imitate him.[231] His Jupiter seated on the throne, with the other Deities10 standing11 around him, is a magnificent production: as, also, is his Infant Hercules strangling the Dragons, in presence of Amphitryon and his mother Alcmena, who is struck with horror. Still, however, Zeuxis is generally censured12 for making the heads and articulations of his figures out of proportion. And yet, so scrupulously13 careful was he, that on one occasion, when he was about to execute a painting for the people of Agrigentum, to be consecrated14 in the Temple of the Lacinian Juno there, he had the young maidens15 of the place stripped for examination, and selected five of them as models, in order to adopt in his picture the most commendable16 points in the form of each. He also painted some monochromes in white.
The contemporaries and rivals of Zeuxis were Timanthes, Androcydes, Eupompus, and Parrhasius. The last, it is said, entered into a pictorial17 contest with Zeuxis, who represented some grapes painted so naturally that the birds flew towards the spot where the picture was exhibited. Parrhasius, on the other hand, exhibited a curtain, drawn18 with such singular truthfulness19, that Zeuxis, elated with the judgment20 which had been passed upon his work by the birds, haughtily21 demanded that the curtain should be drawn aside to let the picture be seen. Upon finding his mistake, with a great degree of ingenuous22 candor23 he admitted that he had been surpassed, for 298 while he himself had only deceived the birds, Parrhasius had deceived him, an artist.
There is a story, too, that at a later period, Zeuxis painted a child carrying grapes, and the birds came to peck at them: upon which, with a similar degree of candor, he expressed himself vexed24 with his work, and exclaimed—“I have surely painted the grapes better than the child, for if I had fully25 succeeded in the latter, the birds would have been in fear of it.” Zeuxis executed some figures also in clay, the only works of art that were left behind at Ambracia, when Fulvius Nobilior transported the Muses26 from that city to Rome. There is at Rome a Helena by Zeuxis, in the Porticos of Philippus, and a Marsyas Bound, in the Temple of Concord27 there.
Parrhasius of Ephesus also contributed greatly to the progress of painting, being the first to give symmetry to his figures, the first to give play and expression to the features, elegance28 to the hair, and gracefulness29 to the mouth: indeed, for contour, it is universally admitted by artists that he bore away the palm. This, in painting, is the very highest point of skill. To paint substantial bodies and the interior of objects is a great thing, no doubt, but at the same time it is a point in which many have excelled: but to make the extreme outline of the figure, to give the finishing touches to the painting in rounding off the contour, this is a point of success in the art which is but rarely attained30. For the extreme outline, to be properly executed, requires to be nicely rounded, and so to terminate as to prove the existence of something more behind it, and thereby32 disclose that which it also serves to hide.
Such is the merit conceded to Parrhasius by Antigonus and Xenocrates, who have written on the art of painting; and in this as well as in other points, not only do they admit his excellence33, but enlarge upon it in terms of the highest commendation. There are many pen sketches34 by him still in 299 existence, both upon panel and on parchment, from the study of which, even artists may greatly profit.
In his allegorical picture of the People of Athens, he has displayed singular ingenuity35 in the treatment of his subjects; for in representing it, he had to depict36 it as at once fickle37, choleric38, unjust, and versatile39; while, again, he had equally to show its attributes of implacability and clemency40, compassionateness and pride, loftiness and humility41, fierceness and timidity—and all these at once. He painted a Theseus also, which was formerly42 in the Capitol at Rome, a Naval43 Commander wearing a cuirass, and, in one picture, now at Rhodes, figures of Meleager, Hercules, and Perseus. This last painting, though it has been thrice struck by lightning, has escaped being effaced45, a circumstance which tends to augment46 the admiration47 which it naturally excites. He painted an Archigallus[232] also, a picture which the Emperor Tiberius greatly admired. According to Deculo, that prince had it shut up in his chamber48, the price at which it was valued being six hundred thousand sesterces.
Parrhasius also painted a Thracian Nurse, with an Infant in her arms, a Philiscus, a Father Liber attended by Virtue49, Two Children, in which we see portrayed50 the careless simplicity51 of childhood, and a Priest attended by a Boy, with a censer and chaplet. There are also two most noble pictures by him; one of which represents a Runner contending for the prize, completely armed, so naturally depicted52 that he appears covered with perspiration53. In the other we see the Runner taking off his armor, and can fancy that we hear him panting aloud for breath. His ?neas, Castor, and Pollux, all represented in the same picture, are highly praised, as well as his Telephus, Achilles, Agamemnon, and Ulysses.
Parrhasius was a most prolific54 artist, but at the same time there was no one who enjoyed the glory conferred upon him by his talent with greater arrogance55. He went so far as 300 to call himself “Habrodi?tus” (Liver-in-Luxury), and the “prince of painters,” and asserted that in him the art had arrived at perfection. He boasted that he had sprung from the lineage of Apollo, and that he had painted his Hercules, a picture now at Lindos, just as he had often seen him in his sleep. Upon being defeated by Timanthes, at Samos, by a great majority of votes, the subject of the picture being Ajax and the Award of the Arms,[233] he declared in the name of his hero, that he felt himself quite disgraced on thus seeing himself a second time defeated by an unworthy opponent.
As to Timanthes, he was an artist highly gifted with genius, and loud have some of the orators57 been in their commendations of his Iphigenia, represented as she stands at the altar awaiting her doom58. Upon the countenance59 of all present, that of her uncle Menelaus in particular, grief was depicted; but having already exhausted60 all the characteristic features of sorrow, the artist adopted the device of veiling the features of the victim’s father, Agamemnon, finding himself unable adequately to give expression to his feelings. There are also some other proofs of his genius, a Sleeping Cyclops, for instance, which he has painted upon a small panel; but, being desirous to convey an idea of his gigantic stature61, he has painted some Satyrs near him measuring his thumb with a thyrsus. Indeed, Timanthes is the only one among the artists in whose works there is always something more implied by the pencil than is expressed, and whose execution, though of the very highest quality, is always surpassed by the inventiveness of his genius. He painted the figure of a Hero, a master-piece of skill, in which he carried the art to the very highest pitch of perfection, in the delineation62 of the warrior63: this work is now at Rome, in the Temple of Peace.
At this period, too, Euxinidas had for his pupil Aristides, who became a most illustrious artist; and Eupompus instructed Pamphilus, who afterwards became the instructor64 of 301 Apelles. There is by Eupompus, a Victor in a gymnastic contest, holding a palm. So high was the reputation of this artist, that he established a school of painting, and so divided the art into three styles; whereas till then there had been but two, known respectively as the Helladic and the Asiatic. In honor of him, a native of Sicyon by birth, the Helladic school was divided into two, and from this period there were three distinct styles recognized, the Ionic, the Sicyonian, and the Attic65.
We have, by Pamphilus, a picture representing the Alliance and the Battle that was fought at Phlius; a Victory also and a representation of Ulysses in his ship. He was a Macedonian by birth, but was the first painter who was also skilled in all the other sciences, arithmetic and geometry more particularly, without the aid of which he maintained that the pictorial art could not attain31 perfection. He gave instruction to no one for a smaller sum than one talent, at the rate of five hundred denarii per annum,[234] and this fee both Apelles and Melanthius paid. It was through his influence that, first at Sicyon, and then throughout the whole of Greece, all children of free birth were taught the graphic66 art, or in other words, the art of drawing upon boxwood; in consequence of which this came to be looked upon as the first step in the liberal arts. It is the fact, however, that this art has always been held in high estimation, and cultivated by persons of free birth, and that, at a more recent period, men of rank even began to pursue it; it having always been forbidden that slaves should receive instruction in it. Hence no celebrated67 work of painting or drawing has been executed by a slave.
In the hundred and seventh Olympiad, flourished A?tion and Therimachus. By the former we have some fine pictures; a Father Liber, Tragedy and Comedy, Semiramis from 302 the rank of a slave elevated to the throne, an Old Woman bearing torches, and a New-made Bride, remarkable69 for the air of modesty70 with which she is portrayed.
But it was Apelles of Cos, in the hundred and twelfth Olympiad, who surpassed all the other painters who either preceded or succeeded him. Single-handed, he contributed more to painting than all the others together, and even went so far as to publish some treatises71 on the principles of the art. The great point of artistic72 merit with him was his singular charm of gracefulness, and this too, though the greatest of painters were his contemporaries. In admiring their works and bestowing73 high eulogiums upon them, he used to say that there was still wanting in them that ideal of beauty so peculiar to himself, and known to the Greeks as “Charis;” others, he said, had acquired all the other requisites74 of perfection, but in this one point he himself had no equal. He also asserted his claim to another great point of merit: admiring a picture by Protogenes, which bore evident marks of unbounded laboriousness75 and the most minute finish, he remarked that in every respect Protogenes was fully his equal, or perhaps his superior, except in this, that he himself knew when to take his hand off a picture—a memorable76 lesson, which teaches us that over-carefulness may be productive of bad results. His candor was equal to his talent; he acknowledged the superiority of Melanthius in his grouping, and of Asclepiodorus in the niceness of his measurements, or, in other words, the distances that ought to be left between the objects represented.
A circumstance that happened to him in connection with Protogenes is worthy56 of notice. The latter was living at Rhodes, when Apelles disembarked there, desirous of seeing the works of a man whom he had hitherto only known by reputation. He repaired at once to the studio; Protogenes was not at home, but there happened to be a large panel upon the easel ready for painting, with an old woman who 303 was left in charge. To his inquiries77 she made answer, that Protogenes was not at home, and then asked whom she should name as the visitor. “Here he is,” was the reply of Apelles, and seizing a brush, he traced with color upon the panel an outline of a singularly minute fineness. Upon his return, the old woman mentioned to Protogenes what had happened. The artist, it is said, upon remarking the delicacy78 of the touch, instantly exclaimed that Apelles must have been the visitor, for that no other person was capable of executing anything so exquisitely79 perfect. So saying, he traced within the same outline a still finer outline, but with another color, and then took his departure, with instructions to the woman to show it to the stranger, if he returned, and to let him know that this was the person whom he had come to see. It happened as he anticipated; Apelles returned, and vexed at finding himself thus surpassed, took up another color and split[235] both of the outlines, leaving no possibility of anything finer being executed. Upon seeing this, Protogenes admitted that he was defeated, and at once flew to the harbor to look for his guest. He thought proper to transmit the panel to posterity80, just as it was, and it always continued to be held in the highest admiration by all, artists in particular. I am told that it was burnt in the first fire which took place at C?sar’s palace on the Palatine Hill; but in former times I have often stopped to admire it. Upon its vast surface it contained nothing whatever except the three outlines, so remarkably81 fine as to escape the sight: among the most elaborate works of numerous other artists it had all the appearance of a blank space; and yet by that very fact it attracted the notice of every one, and was held in higher estimation than any other painting there.
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It was a custom with Apelles, to which he most tenaciously82 adhered, never to let any day pass, however busy he might be, without exercising himself by tracing some outline or other; a practice which has now passed into a proverb.[236] It was also a practice with him, when he had completed a work, to exhibit it to the view of the passers-by in some exposed place; while he himself, concealed83 behind the picture, would listen to the criticisms that were passed upon it; it being his opinion that the judgment of the public was preferable to his own, as being the more discerning of the two. It was under these circumstances, they say, that he was censured by a shoemaker for having represented the shoes with one shoe-string too little. The next day, the shoemaker, quite proud at seeing the former error corrected, thanks to his advice, began to criticise84 the leg; upon which Apelles, full of indignation, popped his head out, and reminded him that a shoemaker should give no opinion beyond the shoes, a piece of advice which has passed into an equally proverbial saying.[237] Apelles was a person of great amenity85 of manners, a circumstance which rendered him particularly agreeable to Alexander the Great, who would often come to his studio. The monarch86 had forbidden, by public edict, that any other artist should represent him. On one occasion, however, when the prince was in his studio, talking a great deal about painting without knowing anything about it, Apelles quietly begged that he would quit the subject, telling him that he would get laughed at by the boys who were there grinding the colors: so great was the influence which he rightfully possessed87 over a monarch, who was otherwise of an irascible temperament88. And yet, irascible as he was, Alexander conferred upon him a very signal mark of the high estimation in which he held 305 him; for having, in his admiration of her extraordinary beauty, engaged Apelles to paint Pancaste undraped, the most beloved of his wives, the artist, while so engaged, fell in love with her; upon which, Alexander, perceiving this to be the case, made him a present of her, thus showing himself, though a great king in courage, a still greater one in self-command, this action redounding90 no less to his honor than any of his victories. Some are of opinion that Pancaste was the model of Apelles in his painting of Venus rising from the waters.
It was Apelles too, who, courteous91 even to his rivals, first established the reputation of Protogenes at Rhodes. Held as he was in little estimation by his own fellow-countrymen, a thing that generally[238] is the case, Apelles inquired of him what price he set upon certain finished works of his, which he had on hand. Upon Protogenes mentioning some very trifling92 sum or other, Apelles made him an offer of fifty talents, and then circulated a report that he was buying these works in order to sell them as his own. By this contrivance, he aroused the Rhodians to a better appreciation93 of the merits of their artist, and only consented to leave the pictures with them upon their offering a still larger price.
He painted portraits, too, so exactly to the life, that a fact with which we are made acquainted by the writings of Apion the grammarian seems altogether incredible. One of those persons, he says, who divine events by the traits of the features, and are known as physiognomists, was enabled, by an examination of his portraits, to tell the year of their death, whether past or future, of each person represented. Apelles had been on bad terms with Ptolem?us in former times, when they formed part of the suite94 of Alexander. After Ptolem?us had become king of Egypt, it so happened that Apelles was driven by the violence of a tempest to Alexandria. Upon 306 this, some of his rivals fraudulently suborned a jester, who was attached to the court, to carry him an invitation to dine with the king. Accordingly, Apelles attended; upon which Ptolem?us was highly indignant, and, summoning before him his stewards95 of the household, requested that the artist would point out the one that had given him the invitation. Thus challenged, Apelles seized a piece of quenched96 charcoal97 that lay in the fire-place, and traced a likeness98 upon the wall, with such exactness, that the king, the moment he began it, recognized the features as those of the jester.
He also made a portrait of King Antigonus; and as that monarch was blind of one eye, he painted him in profile, in order that what in reality was wanting to the person might rather have the semblance99 of being wanting to the picture. Among his works, too, there are some figures representing persons at the point of death; but it is not easy to say which of his productions are of the highest order of excellence. His Venus Rising from the Sea, known as the Venus Anadyomene, was consecrated by the late Emperor Augustus in the Temple of his father C?sar; a work which has been celebrated in certain Greek lines, which, though they have outlived it, have perpetuated100 its fame. The lower part of the picture having become damaged, no one could be found to repair it; and thus did the very injury which the picture had sustained, redound89 to the glory of the artist. Time, however, and damp at last effaced the painting, and Nero, in his reign101, had it replaced by a copy, painted by the hand of Dorotheus. Apelles also commenced another Venus for the people of Cos, which would have outshone even the former one; but death invidiously prevented its completion, nor could any one be found to complete the work in conformity102 with the sketches of the outline. He painted also, in the Temple of Diana at Ephesus, Alexander the Great wielding103 the Thunderbolts, a picture for which he received twenty talents of gold. The fingers have all the appearance 307 of projecting from the surface, and the lightning seems to be darting104 from the picture. The price paid in golden coin for this picture was ascertained105 by weight, there being no specific sum agreed upon.
He also painted a Procession of the Megabyzus, the priest of Diana at Ephesus; and a Clitus on Horseback, hastening to the combat, his Armor-bearer handing him his helmet at his command. How many times he painted Alexander and Philip, it would be quite superfluous106 to attempt to enumerate107. At Samos, there is a Habron by him, that is greatly admired; at Alexandria, a Gorgosthenes, the Tragedian; and at Rome, a Castor and Pollux, with figures of Victory and Alexander the Great, and an emblematical108 figure of War with her hands tied behind her, and Alexander seated in a triumphal car; both of which pictures the late Emperor Augustus, with a great degree of moderation and good taste, consecrated in the most frequented parts of his Forum109: the Emperor Claudius, however, thought it advisable to efface44 the head of Alexander in both pictures, and substitute likenesses of his predecessor110 Augustus. It is by his hand too, it is generally supposed, that the Hercules, with the face averted111, now in the Temple of Anna, was painted; a picture in which, one of the greatest difficulties in the art, the face, though hidden, may be said to be seen rather than left to the imagination. He also painted a figure of a naked Hero, a picture in which he has challenged Nature herself.
There exists too, or did exist, a Horse that was painted by him for a pictorial contest; as to the merits of which, Apelles appealed from the judgment of his fellow-men to that of the dumb quadrupeds. For, finding that by their intrigues112 his rivals were likely to get the better of him, he had some horses brought, and the picture of each artist successively shown to them. Only at the sight of the horse painted by Apelles did they begin to neigh; a thing that has always been the case since, whenever this test of his artistic skill has been employed. 308 He also painted a Neoptolemus on horse-back, fighting with the Persians; an Archel?us, with his Wife and Daughter; and an Antigonus on foot, with a cuirass on, and his horse led by his side. Connoisseurs113 in the art give the preference, before all other works of his, to his paintings of King Archel?us on horseback, and of Diana in the midst of a throng114 of Virgins115 performing a sacrifice; a work in which he would appear to have surpassed the lines[239] of Homer descriptive of the same subject. He also essayed some things, which in reality do not admit of being portrayed—thunder, lightning, and thunderbolts, in pictures which are known by the respective names of Bronte, Astrape, and Ceraunobolia.
His inventions, too, in the art of painting, have been highly serviceable to others; but one thing there was in which no one could imitate him. When his works were finished, he used to cover them with a black varnish116, of such remarkable thinness, that while it gave more vivacity117 to the colors, and preserved them from the contact of dust and dirt, its existence could only be detected when one was close enough to touch it.[240] The brightness of the colors was softened118 and harmonized to the sight, as though they had been viewed from a distance, and through a medium of specular-stone, the contrivance, by some indescribable means, giving a sombreness to colors which would otherwise have been too florid.
One of the contemporaries of Apelles was Aristides of Thebes; the first of all the painters to give full expression to the mind and passions of man, known to the Greeks as ηθη. He painted a Battle with the Persians, a picture which contained one hundred figures, for each of which he was paid at the rate of ten min? by Mnason, the tyrant119 of Elatea. He 309 also painted Chariots with four horses in full career; a Suppliant120, which almost speaks; Huntsmen with game; and a damsel pining to death from love for her brother. There was also to be seen, in the Temple of Faith, in the Capitol, a picture of his, representing an Aged68 Man giving instructions to a Child on the lyre. He executed also a painting of an Invalid121, upon which endless encomiums have been lavished122. Indeed, so great was the excellence of this artist, that King Attalus is said to have purchased one picture of his at the price of one hundred thousand dollars.
At the same period flourished Protogenes, native of Caunus, a place held in subjection by the Rhodians. Great poverty in his early days, and extreme application to his art, were the causes of his comparative unproductiveness. It is not known with certainty from whom he received his instruction in the art: indeed some say that he was only a ship-decorator down to his fiftieth year; a proof of which, it is asserted, is the fact, that in decorating the Propyl?um of the Temple of Minerva, situated123 in one of the most celebrated spots in Athens, where he has painted the fine picture of Paralus and Hammonias, known by some as the Nausicaa, he has added in the side pieces of the picture, by painters called “parerga,” several small ships of war; wishing thereby to show in what department that skill had first manifested itself which had thus reached the citadel124 of Athens, the scene of his glory. Of all his compositions, however, the palm has been awarded to his Ialysus, grandson of Apollo, now at Rome, consecrated in the Temple of Peace. So long as he was at work upon it, he lived upon nothing but soaked lupines; by which means he at once appeased125 both hunger and thirst, and avoided all risk of blunting his perception by too delicate a diet. In order to protect this picture against the effects of ill-usage and old age, he painted it over four times, so that when an upper coat might fail, there would be an under one to succeed it. There is in this picture the figure 310 of a dog, which was completed in a very remarkable manner, inasmuch as accident had an equal share with design in the execution of it. The painter was of opinion that he had not given the proper expression to the foam126 at the mouth of the animal, panting for breath, as it was represented; while, with all other parts of the picture he was perfectly127 satisfied, a thing extremely unusual with him. The thing that displeased128 him was, the evident traces of art in the execution of it, touches which did not admit of any diminution129, and yet had all the appearance of being too labored130, the effect produced being far removed from his conception of the reality—the foam bore the marks of being painted, and not natural. Vexed and tormented131 by this dilemma132, it being his wish to depict truth itself, and not something that only bore a semblance of truth, he effaced it again and again, changed one brush for another, and yet by no possibility could satisfy himself. At last, quite out of temper with an art, which, in spite of him, would still obtrude133 itself, he dashed his sponge against the vexatious spot; when behold134! the sponge replaced the colors that it had just removed, exactly in accordance with his utmost wishes. Thus did chance reproduce Nature in a painting.
Following his example, Nealces succeeded in representing the foam at a horse’s mouth; for on one occasion, when engaged in painting a man holding in a pair of horses and soothing135 them with his voice, he also dashed his sponge against the picture, with the view of producing a like effect.
On account of this Ialysus, which he was apprehensive136 of destroying, King Demetrius forbore to set fire to the only side of the city of Rhodes by which it was capable of being taken; and thus, in his anxiety to spare a picture, did he lose his only opportunity of gaining a victory. The dwelling137 of Protogenes was in a little garden in the suburbs in the midst of the camp of Demetrius. The combats that were taking place made no difference whatever to the artist, and in no 311 way interrupted his proceeding138 with the work which he had commenced. At last he was summoned before the king, who inquired how he could have the assurance thus to remain without the walls. “Because I know,” was his answer, “that you are waging war with the Rhodians, and not with the arts.” Upon this, the king, delighted at having the opportunity of protecting the hand which he had thus spared, ordered a guard to be placed at his disposal for the especial purpose of his protection. In order, too, that he might not distract the artist’s attention by sending for him too often, he would often go, an enemy albeit139, to pay him a visit, and, abandoning his aspirations140 for victory, in the midst of arms and the battering141 down of walls, would attentively142 examine the compositions of the painter. Even to this day, the story is still attached to the picture which he was then engaged upon, to the effect, that “Protogenes painted it beneath the sword.”
Protogenes executed also a Cydippe; a portrait of Philiscus, the tragic143 poet, in an attitude of meditation144: an Athlete; a portrait of King Antigonus, and one of Ph?stis, the mother of Aristotle.
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sufficiently
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| adv.足够地，充分地 | |
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luminaries
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| n.杰出人物，名人（luminary的复数形式） | |
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adoration
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| n.爱慕，崇拜 | |
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riveting
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| adj.动听的，令人着迷的，完全吸引某人注意力的；n.铆接（法） | |
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destined
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| adj.命中注定的；(for)以…为目的地的 | |
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arduous
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| adj.艰苦的，费力的，陡峭的 | |
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ostentation
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| n.夸耀，卖弄 | |
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embroidered
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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deities
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| n.神，女神( deity的名词复数 )；神祗；神灵；神明 | |
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standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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censured
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| v.指责，非难，谴责( censure的过去式 ) | |
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scrupulously
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| adv.一丝不苟地；小心翼翼地，多顾虑地 | |
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consecrated
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| adj.神圣的，被视为神圣的v.把…奉为神圣，给…祝圣( consecrate的过去式和过去分词 )；奉献 | |
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maidens
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| 处女( maiden的名词复数 )； 少女； 未婚女子； （板球运动）未得分的一轮投球 | |
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commendable
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| adj.值得称赞的 | |
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pictorial
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| adj.绘画的；图片的；n．画报 | |
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drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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truthfulness
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| n. 符合实际 | |
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judgment
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| n.审判；判断力，识别力，看法，意见 | |
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haughtily
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| adv. 傲慢地, 高傲地 | |
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ingenuous
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| adj.纯朴的，单纯的；天真的；坦率的 | |
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candor
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| n.坦白，率真 | |
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vexed
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| adj.争论不休的；（指问题等）棘手的；争论不休的问题；烦恼的v.使烦恼( vex的过去式和过去分词 )；使苦恼；使生气；详细讨论 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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muses
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| v.沉思，冥想( muse的第三人称单数 )；沉思自语说（某事） | |
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concord
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| n.和谐；协调 | |
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28
elegance
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| n.优雅；优美，雅致；精致，巧妙 | |
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gracefulness
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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31
attain
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| vt.达到，获得，完成 | |
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32
thereby
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| adv.因此，从而 | |
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33
excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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34
sketches
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| n.草图( sketch的名词复数 )；素描；速写；梗概 | |
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35
ingenuity
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| n.别出心裁；善于发明创造 | |
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36
depict
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| vt.描画，描绘；描写，描述 | |
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37
fickle
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| adj.(爱情或友谊上)易变的，不坚定的 | |
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38
choleric
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| adj.易怒的，性情暴躁的 | |
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39
versatile
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| adj.通用的，万用的；多才多艺的，多方面的 | |
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40
clemency
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| n.温和，仁慈，宽厚 | |
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41
humility
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| n.谦逊，谦恭 | |
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42
formerly
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| adv.从前，以前 | |
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43
naval
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| adj.海军的，军舰的，船的 | |
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44
efface
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| v.擦掉，抹去 | |
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45
effaced
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| v.擦掉( efface的过去式和过去分词 )；抹去；超越；使黯然失色 | |
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46
augment
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| vt.(使)增大，增加，增长，扩张 | |
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47
admiration
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| n.钦佩，赞美，羡慕 | |
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48
chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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50
portrayed
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| v.画像( portray的过去式和过去分词 )；描述；描绘；描画 | |
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51
simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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52
depicted
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| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
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53
perspiration
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| n.汗水；出汗 | |
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54
prolific
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| adj.丰富的，大量的；多产的，富有创造力的 | |
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55
arrogance
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| n.傲慢，自大 | |
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56
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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57
orators
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| n.演说者，演讲家( orator的名词复数 ) | |
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58
doom
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| n.厄运，劫数；v.注定，命定 | |
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59
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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60
exhausted
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| adj.极其疲惫的，精疲力尽的 | |
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61
stature
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| n.（高度）水平，（高度）境界，身高，身材 | |
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62
delineation
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| n.记述；描写 | |
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63
warrior
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| n.勇士，武士，斗士 | |
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64
instructor
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| n.指导者，教员，教练 | |
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65
attic
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| n.顶楼，屋顶室 | |
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66
graphic
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| adj.生动的，形象的，绘画的，文字的，图表的 | |
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67
celebrated
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| adj.有名的，声誉卓著的 | |
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68
aged
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| adj.年老的，陈年的 | |
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69
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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70
modesty
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| n.谦逊，虚心，端庄，稳重，羞怯，朴素 | |
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71
treatises
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| n.专题著作，专题论文，专著( treatise的名词复数 ) | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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73
bestowing
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| 砖窑中砖堆上层已烧透的砖 | |
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74
requisites
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| n.必要的事物( requisite的名词复数 ) | |
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75
laboriousness
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76
memorable
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| adj.值得回忆的，难忘的，特别的，显著的 | |
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inquiries
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| n.调查( inquiry的名词复数 )；疑问；探究；打听 | |
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78
delicacy
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| n.精致，细微，微妙，精良；美味，佳肴 | |
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79
exquisitely
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| adv.精致地；强烈地；剧烈地；异常地 | |
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80
posterity
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| n.后裔，子孙，后代 | |
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81
remarkably
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| ad.不同寻常地，相当地 | |
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82
tenaciously
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| 坚持地 | |
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83
concealed
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| a.隐藏的，隐蔽的 | |
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84
criticise
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| v.批评，评论；非难 | |
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85
amenity
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| n.pl.生活福利设施，文娱康乐场所；（不可数）愉快，适意 | |
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86
monarch
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| n.帝王，君主，最高统治者 | |
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87
possessed
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| adj.疯狂的；拥有的，占有的 | |
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88
temperament
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| n.气质，性格，性情 | |
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89
redound
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| v.有助于；提；报应 | |
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90
redounding
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| v.有助益( redound的现在分词 )；及于；报偿；报应 | |
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91
courteous
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| adj.彬彬有礼的，客气的 | |
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92
trifling
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| adj.微不足道的；没什么价值的 | |
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93
appreciation
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| n.评价；欣赏；感谢；领会，理解；价格上涨 | |
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94
suite
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| n.一套(家具)；套房；随从人员 | |
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95
stewards
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| （轮船、飞机等的）乘务员( steward的名词复数 )； （俱乐部、旅馆、工会等的）管理员； （大型活动的）组织者； （私人家中的）管家 | |
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96
quenched
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| 解（渴）( quench的过去式和过去分词 )； 终止（某事物）； （用水）扑灭（火焰等）； 将（热物体）放入水中急速冷却 | |
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97
charcoal
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| n.炭，木炭，生物炭 | |
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98
likeness
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| n.相像，相似（之处） | |
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99
semblance
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| n.外貌，外表 | |
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100
perpetuated
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| vt.使永存（perpetuate的过去式与过去分词形式） | |
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101
reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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102
conformity
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| n.一致，遵从，顺从 | |
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103
wielding
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| 手持着使用（武器、工具等）( wield的现在分词 )； 具有； 运用（权力）； 施加（影响） | |
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104
darting
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| v.投掷，投射( dart的现在分词 )；向前冲，飞奔 | |
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105
ascertained
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| v.弄清，确定，查明( ascertain的过去式和过去分词 ) | |
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106
superfluous
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| adj.过多的，过剩的，多余的 | |
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107
enumerate
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| v.列举，计算，枚举，数 | |
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108
emblematical
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| adj.标志的，象征的，典型的 | |
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109
forum
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| n.论坛，讨论会 | |
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110
predecessor
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| n.前辈，前任 | |
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111
averted
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| 防止，避免( avert的过去式和过去分词 )； 转移 | |
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112
intrigues
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| n.密谋策划( intrigue的名词复数 )；神秘气氛；引人入胜的复杂情节v.搞阴谋诡计( intrigue的第三人称单数 )；激起…的好奇心 | |
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113
connoisseurs
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| n.鉴赏家，鉴定家，行家( connoisseur的名词复数 ) | |
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114
throng
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| n.人群，群众；v.拥挤，群集 | |
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115
virgins
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| 处女，童男( virgin的名词复数 )； 童贞玛利亚（耶稣之母） | |
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116
varnish
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| n.清漆；v.上清漆；粉饰 | |
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117
vivacity
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| n.快活，活泼，精神充沛 | |
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118
softened
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| （使）变软( soften的过去式和过去分词 )； 缓解打击； 缓和； 安慰 | |
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119
tyrant
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| n.暴君，专制的君主，残暴的人 | |
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120
suppliant
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| adj.哀恳的；n.恳求者，哀求者 | |
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121
invalid
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| n.病人，伤残人；adj.有病的，伤残的；无效的 | |
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122
lavished
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| v.过分给予，滥施( lavish的过去式和过去分词 ) | |
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123
situated
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| adj.坐落在...的，处于某种境地的 | |
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124
citadel
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| n.城堡；堡垒；避难所 | |
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125
appeased
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| 安抚，抚慰( appease的过去式和过去分词 )； 绥靖（满足另一国的要求以避免战争） | |
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126
foam
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| v./n.泡沫，起泡沫 | |
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127
perfectly
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| adv.完美地，无可非议地，彻底地 | |
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128
displeased
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| a.不快的 | |
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129
diminution
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| n.减少；变小 | |
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130
labored
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| adj.吃力的，谨慎的v.努力争取(for)( labor的过去式和过去分词 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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131
tormented
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| 饱受折磨的 | |
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132
dilemma
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| n.困境，进退两难的局面 | |
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133
obtrude
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| v.闯入；侵入；打扰 | |
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134
behold
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| v.看，注视，看到 | |
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135
soothing
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| adj.慰藉的；使人宽心的；镇静的 | |
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136
apprehensive
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| adj.担心的，恐惧的，善于领会的 | |
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137
dwelling
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| n.住宅，住所，寓所 | |
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138
proceeding
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| n.行动，进行，(pl.)会议录，学报 | |
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139
albeit
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| conj.即使；纵使；虽然 | |
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140
aspirations
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| 强烈的愿望( aspiration的名词复数 )； 志向； 发送气音； 发 h 音 | |
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141
battering
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| n.用坏，损坏v.连续猛击( batter的现在分词 ) | |
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142
attentively
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| adv.聚精会神地；周到地；谛；凝神 | |
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143
tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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144
meditation
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| n.熟虑，（尤指宗教的）默想，沉思，（pl.）冥想录 | |
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